ABASS SINGER is required at Michaelmas in the CHOIR of St. John's College, Cambridge. Service* on Saturday Evening, and (2) on Sundays, with an occasional Saints'-dav Service. Salary. £30 per annum. Applications and testimonials to be lent at once to G. M. Garrett, Esq., Mub. B., 5 Pembroke Street, Cambridge.

w

ANTED, in a large provincial Music Warehouse, an

ASSISTANT, who can take the Sole Management of the Paper Department. Alio, a JUNIOR ASSISTANT, ivho must have a knowledge of Book-keeping. Apply to N. A., care of Messrs. Boosey & Sons, 28 Holies Street.

CHORISTERS.—Wanted, two Choir Boys, for a Chapel in 'he Country, where there ii dally Choral Service. For the annual payment of £\'* each, they will receive a good English and commercial education, and will be boarded and lodged in the house of the Org mist, from whom they will receive lessons on the Pianoforte, with daily instructions in Singing and Theory of Music. Applicants must possess fair voices, and a musical taste and ear. Apply to Mr. Crossley, Arley Green, Northwich.

WANTED, an APPOINTMENT as ORGANIST, where there is an opportunity of obtaining Teaching. First cl.ua testimonials and reference from present situation. Address. J. D. K., care of Wro. Dyson, Meadow

MUSICAL INSTRUMENTS for VOLUNTEER and COUNTRY BANDS.-BOOSEY and SONS beg to state that they have mail.' arrangements to supply. BRASS and HEED INSTRUMENTS, of the very best description, at the lowest scale of pricei. Brii<d-Ma»ters and others are recommended to forward a list of Instruments required, for which they will receive an estimate of cost by return of post.

Important and Valuable Stock of Music Plates of Messrs. Wessell & Co., rtfbiai from business.

ESSRS. PUTTICK & SIMPSON, Auctioneers of

Literary Property, will sell by Auction at their new and very spacion. pre. mises 47 Leicester Square, W.C. (formerly the Western Literary Institution), on Monday. July 23, and following dai s, the very Important valuable STOCK of EXGRAV'ED MUSIC l'LATF.S (upwards of 63,000). with their Copvrlehts. o( Mum. Westell * Co.. of Hanover Squar", retiring from business \ c mprising the most popular compositions of esteemed modern authors ( English and Foreign I, Including tfaow ol Beethoven, Beyer. Bosisio. Cramer, Czerny, Chonin, Clinton, Kttling. Heher, H«i. sell Hummel, Julllen, Kummer. Kcenig. Kucken. Kuhlau, Kullak Lemolne, LabiUkj, L.riner Llsit, Lamotte, Llndpaliif er, Mendelssohn, Mayer. Marschncr, Musatd. Ms;, seder Molique, Oberthur, Rclssigcr, Romberg, Schulhoff. Strauss, Schubert, Wthrt, Wallerstein, and others, including the most popular arrangements, vocal ai d hutnimental. Catalogues are now ready, and will be sent on receipt of four stamps.

GOD SAVE THE QUEEN," for Four Male Voices, as sung by the Choir of 3000 FRENCH ORPHEONISTS, at the Feteiplten in the Crystal Palace, Sydenham, arranged especially for them by Cahillb Us Voss.is published in score, price 6d., by Duncan Davison and Co. '244 Regent Street, W.

WILBYE COOPER'S NEW SONG, "The Meadow Gate," composed expresslv for him by George B. Allen, Is now published, price 2s. fid. by Duncan Davison and Co. 244 Regent Street, W.

MEYERBEER'S FOURTH MARCHE AUX FLAMBEAUX (*' Royal Wedding March "), composed in honour of the Marriage of the Princess Royal of Kngland with Prince Frederick William of Prussia, which »a* played with such immense effect by the Band of the Guides at the Fete of the Orpheonittes at the Crystal Pal.ice, is published for the Pianoforte, price 4s., by Duncan Davison & Co., 244 Regent Street, London, W.

GOOD NIGHT," New Song by A. Reichardt, Composer of "Thun art so near and yet so far." is publi.hed. with Ficliin and German Words, and a Portrait of Herr Reichardt, price 2s. bd. by Duncan Davison & Co. 244 Regent Street, W.

-L i that moanest loud" (sung by Mr. S.mtlcy at the Monday Popular Concerts); "Swifter far than Summer's flight/* (sung by Miss Palmer at the Monday Popular Concerts); " False friend, wilt thou smile or weep,*' Beatrice's song in the Cencl (sung by Madame Sainton-Oolby, at the Monday Popular Concerts, St. James's Hall); are published by Cramer, Beale, and Co., 201 Regent Street.

The above Songs form Nos. 1, 2, and 3 of Vocal Illustrations of Shelley.

** Mr. San tier was encored in one of the thoroughly picturesque anit poetical settinrs of Shelley, by Mr. J. W. Davison, mentioned a week or two since* His song,' Rough wind that moanest loud,* is a thoroughly good song."— Athenaeum.

*' Madame Sainmn-Dolhr's greatest efforts were called forth by Mendelssohn') 'Night' song, and Mr. J. W. Davison's ' False friend,"wilt thou smile or w-ep' (from Shelley's 'Cenci*), to both of which she did the amplest justice. Th« latter work is one of the most poetical and beautiful or the 4 Vocal Illustrations of Shelley/ composed by Mr. Davison many years ago, and which, though rarely heard, possets far more sterling merit than nlDc-lenths of the most admired songs of the day. A more intellectual treatment of the words could not well be imagined. Mr. Davison has con* pletely caught the spirit of the poetry, and heightened its beauty by the potent ch rots which belong only to the sister art. 'False friend, wilt thou ..mile or weep,' sung to perfection by Madame Sainton-Dolby, was enthusiastically applauded."

The most remarkable feature 'in my this week's not over rich budget of news, is the extraordinary success which has attended the return of M. Roger to the Opera Comique, the birthplace of his two-fold fame as a singer and an actor. It was not necessary to sit on the tripod at Delphi in order to foretell that his welcome back to his artistic home would be a warm one, but it would have been a bold venture for the prophets' mantle to predict that he would draw a succession of overflowing houses in the height of the summer season. Yet such is the fact, and money is, on his nights of performance, refused at the doors. He made his reappearance in La Dame Blanche, which he continues to play on alternate nights. Mad. Ugalde, whose return has been almost equally successful, appearing in the intervals in Galutee and rAmbassadrice. The consequenc of this prosperous condition of things is that Le Petit Chaperon Rouge and Mad. Faure's d£but therein are postponed sine die. A. M. Laget, late of the Toulouse Theatre, has presented himself for approval to the patrons of the Opera Comique. He made his first appearance in the character of Tracol in, in Le Toscador, and showed himself possessed of certain sterling qualities, but with a certain outward crust of provincialism, of which he must rid himself without delay. M. Roger will be shorly off for Baden; but before he goes he is to sing in the Domino Noir with Mad. Ugalde.

At the Grand Opera they have been giving Semiramis three times a week. The Prophete is being rehearsed, and will be shortly produced with Mad. Tedesco and Gueymard. Michot, I understand, is shortly to try his strength in the part of Raoul in Les Huguenots.

The much praised jprima donna, Mile. Emy Lagrua, of whom I gave you some intelligence last week in mentioning her recent appearance at Pesth, where in the character of Norma, and in that of Leonora in the Trovatore, she displayed her fine dramatic power, splendid voice, and broad noble style, to the intense gratification of M. Salvi's subscribers,—Mile. Lagrua—I must repeat her name after the long-winded parenthesis its mention has imposed upon me, which if there be any truth in fame will often enough have to repeat it—Mile. Lagrua—I say once more—is shortly expected in Paris, where she is to make a sojourn of some six weeks, until it be time to return to St. Petersburg, where she has an engagement on the most brilliant terms for the next two years. Now is the time, therefore, for one of your London impresurii to persuade the great Emy to emigrate at some future day towards your shores.

Mad. Charton Demeur has, I am informed, Just entered into a contract to perform next season at the opera in Madrid. There is also a good time coming for the dilettante of Bologna, where Mad. Borghi-Mamo is engaged for the autumn season, to whom have just been added M. and Mad. Barbot. The manager is mounting Le Prophete for them, in which Mad. Borghi-Mamo will sing the part of Fides, Mad. Barbot that of Bertha, and M. Barbot will personate John of Leyden. I hear nothing more of Mad. Miolan-Carvalho's Spanish engagement. In the meantime, it is settled that she is to sing in September at Berlin, where the director of the Royal Theatres has engaged her for twelve performances. I have just said that Le Prophete was being got up at Bologna ;"it is also tojbe one of the operas produced in the course of the ensuing season at the Carcano in Milan. It is evident, therefore, that Meyerbeer is at last making a rapid conquest of the Italians, and that at the moment they are proudly throwing off the yoke of German arms, they are about to yield a long deferred submission to the dominion of Teutonic art. Is there not some mysterious connection between liberty and the esthetic genius of the north which would account for their simultaneous change of taste and of political condition? Some such musical metaphysician as Wagner might write a pretty disquisition on this theme, only I shouldn't like to read it.

Having worked round to Germany and German musicians, the occasion is opportune to tell you that the veteran Moscheles is at present in Paris, where he intends to remain a fortnight. In exchange we have despatched Litolff to Wiesbaden, to organise a musical festival, to take place there on the 24th of August. The

operatic season has commenced at Vienna. Among the remarkable features of the programme, I may mention the production of the Pardon de Ploermel; of L'Enfant rles Laitdes, an opera 'in foar acts, by M. Rubinstein; of Wanda, by M. Doppler; of Alma, by M. Thomas Loewe; and lastly of The Phantom Ship, by Richard Wagner. Mile. Trassini is to sing the part of Dinorah, and MM. Bech and Walter will be the Iloel and the Corentin. M. Forst, the manager of the Josephstadt Theatre, has just obtained the privilege of building a new theatre, the site of which is to be at Funfhaus. It should have been, were there such a place, at Siebenhaus, for it will be the seventh theatrical edifice possessed by the Austrian capital.

You will rejoice to hear a fact I have to inform you of about Joachim the celebrated violinist and director of the Court music at Hanover. The emoluments of his post have been doubled. From what you (Ed. M. W.) and I know of his character and his complete absorption in his art, to the exclusion of all worldly considerations, it is very certain that his good fortune will affect him far less than it does his friends. At Stockholm MM. Vieuxtemps and Ole Bull have been giving a series of concerts, not conjointly be it understood. The first-named artist chose the inopportune period when the coronation festivals were going on, and was consequently less successful than his fellow artist. He has been compensated, however, by the honour of being elected a member of the Musical Academy of Sweden, and being decorated with the order of Vasa. The violinist in question being a Belgian, I may without too violent a transition introduce a little musical gossip concerning that part of the world, cruelly designated by Charlotte Bronte le royaume de Labasse court. M. de Beriot, the celebrated violinist, has been gratifying a select circle of friends with several fragments of a comic opera composed by him while in Russia, the orchestral parts of which were scored by M. Gevaert. The work is said to contain a number of light, fresh, and original melodies; but as it is to be produced next winter at 'the Op6ra Comique in Paris, we shall have an opportunity of revising the judgment of the composer's perhaps too partial friends.

The Societe Oodefroid of Namur has been getting up a grand festival after the German fashion, to come off on the 22nd. Haydn's Seasons, the words translated by Roger, will be executed by a large number of artists and amateurs, under the direction of M. Haussens. The orchestra will consist of two hundred instrumentalists, selected from among the best performers of Belgium and other countries. The Conservatoire of Brussels will take part in the festival, and the chief performers of the BrusselsOpera, viz. MM. Wicart, Carman, de Poitier, and Mcsds. II. and A. Haynsa and P. Bane's. The season at Spa is said to have commenced somewhat languidly, notwithstanding the excellent intentions of the director of the establishment there. Herr Laub the German violinist will perform at the earliest concerts given, and Mad. Miolan-Carvalho is expected on the 27th.

Having, in gathering scraps of fact, gossip, and rumour, for the edification of your readers, made the grand tour of Europe, I return whence I started, to gay Paris, but not to a gay subject. Poor Goria, whose death I announced in my last, has been laid in his last resting-place. The funeral ceremony was performed in the church of Notre Dame de Lorette, and was attended by almost every musical artist of distinction now in Paris, and by. a great number of ladies, pupils of the deceased composer. Bataille sang the adagio from the Sonate Pathetique of Beethoven, for which poor Goria had a special affection, in a voice betraying the deep emotion of the singer. His remains were followed to the cemetery by a numerous concourse of friends and fellow labourers, among whom he has left the sincerest regret.

On Saturday last the section of Beaux Arts at the Imperial Institute pronounced their decision on the competition for the prix de Rome, awarded to the best musical composition. The successful competitor was M. Emile Faladilhe, who has scarcely attained' his sixteenth year. He is a pupil of M. F. Ilalevy, and Auber is reported to have said of him, with prophetic discernment as far back as five years ago, "ce sera un compositeur." The second grand prize was carried off by M. A. Deslaudres, a pupil of M. Leborne; and M. Isidore Edouard Lcgouix was honorably mentioned. The latter is a pupil of Ambroise Thomas and Reber. As you have got the International Statistical Congress sitting
in London, it may gratify them to know that the receipts by theatres, concerts, balls, and spectacles of all kinds, during the month of June, amounted to 1,029,170 fr. 22 centimes.

JOSEPH HARTMANN STUNTZ.

(From a Foreign Contributor.)

Munich, July 20, 1859.—A rare man nnd artist departed this life within these few days, and thousands, deeply grieved, stood at a tomb that conceals a man whose fume after death will — as Providence often wills it — by far outshine the acknowledgment paid to the deceased in his lifetime.

Joseph Hartmann Stuntz was the son of Johannes Stuntz, who descended from small tillers of vines in Ichtingen, in Brisgow.

Let us first speak of the father, in whom we find a strong and energetic nature, full of the then germinating idea of the fulfilment of the rights of human nature, and we find a man, having made his own education, who merely by his energy arrived to get [attainments in all the branches of science and of art.

Johannes Stuntz lived in Paris in the years of 187 , where ho

studied the art of landscape painting, and by studying the works of Gluck and other authentical composers, devoted himself at the same time to the study of classical music After various changes he went through, partly as landscape painter, partly, in the first years of the Revolution, as a zealous officer in the Garde Nationals, and afterwards as officer in the Corps du Genie, in Strassburgh, and later as CommiBsaire Civil in the then called Depnrtcment du Jura, we meet him in the summer, 1793,—in consequence of his eager part he took in the political troubles in France, — at Arlcsheim, in Switzerland, in the present Canton Basil; his having lived there quite retired, he now was at leisure to give up himself with zeal to his vocation as gouache painter, and as such he is on the same level with Philip Hackert.

In the splendid and far-famed park and gardens near Arlcsheim, the possessor of the same at that time, Baron d'Andlaw, offered to Johannes Stuntz a small house, in which Joseph Hartmann was born on the 23d of July, 1793.

During the time of the Dircctuire the family Stuntz. returned to France, first to Chaumont and then to Strassburgh. In Sirassburgh it was that the eminent musical talent of Joseph Hartmann, then scarcely seven years old, captivated the attention of his father and of some of his friends in a high degree. Almost exclusively, the father occupied himself with the musical cultivation of his young son, who, after the battle of Austerlitz, com|>osed a reception march for the return of the Garde Attillerie, and soon after, when a To Deum of his was performed at the Minster in Strassburgh, the dilettanti there crowned the young composer, now fourteen years old, on the choir of the Minster with a wreath of laurel. As the father saw in the perpetual summons to the army of the Napolconismc at that time no welfare for his gifted and talented sons (a younger son, who died early, showed an extraordinary talent for sculpture), he made up his mind to leave Strassburgh, and relying upon the circumstance that — from that time lie was in the army —ho was known to his colonel the Duke Max., afterwards King Max. I. of Bavaria, ho went to live in that country.

Scarcely arrived in Munich with his family, King Max. I. ordered at once that Joseph Hartmann is to be admitted in the Koynl Chapel, and fixed at the same time that the Maitre de Chapelle at that time, Von Winter, is to be his master.

Soon after, Joseph Hartmann Stuntz left for Vienna with a royal stipend, in order to profit of the instruction of the clever and spirited Snlieri, but it only lasted a short time, because then the Bavarian and Viennese Courts were not on good terms, and therefore Stuntz was obliged to leave Vienna, and only was able to return again to this capital in the year 18IS to continue his studies with Salieri, and there it was, no doubt, that Stuntz at the side of a master like Salieri, and by the impression of the then now works of Beethoven, appropriated himself, his technical attainments, and tho severcness, profoundness, and solidity of his musical judgment, which so very much distinguished him.

In the year 1816 he returned to Munich, where ho at once was appointed Maestro at the New Italian Opera.

In the year 1818 he was given in marriage to Fraulein Marie Appcnburg von Schadcn, a lady who, besides her intellect and high education, also was a thorough musician, and as such an able alto, having been taught by Tcrscchini's method. In the same year Stuntz got leave to go to Italy, where, having been commissioned by the Seals, he composed in 1819 an opera. La Rapressaglia, which was received with so much approbation that it was performed sixty times running, and Stuntz got the title of Maestro diCartello ; iu 1820 he was called to

Venice, where he composed for the Fenice, the opera Costantuto, which was received with great acclamations.

Returned home in the meantime, he composed in Munich tit opcrettc Chariot, or the Foster Brother!, a work distinguished by the sweetness of its melodies. Soon after, he again was called to Italy, to Turin this time, where he composed for the Royal Opera in the Carr.evjle of 1821-22 tho opera Dalmiro ed Argone, and immediately after he had to go to Milan, where he composed in the Carncvale 1823 the conic opera Elvira e Lucindo. On account of his having not been well he was obliged to refuse a calling to Rome to the Argentina,

Returned to Munich in 1823, he was made Vice-maitrc de Chapelle, and Director of the Vocal Music at tho Royal Opera, and iu 1825, after Winter's death, King Louis nppo;nted him as First Maitre de Chapelle.

Now begins his more local activity, partly by his compositions of masses and psalms, both in the strict nnd free style, of cantatas and overtures, and partly by instrumentations. The profoundness of hii knowing he imbibed in Italy by tho study of the works of the old classical composers, he first showed in a splendid cantata which he composed for tho obsequies of Clara Vesperman, a celebrated German singer. At this time he wrote over agaiu the opera Das Donauwtikku (the Nymph of the Danube), and composed a cantata for the inauguration of the synagogue in Munich. In 1828 the first vocal society was established in Munich, which was very considerable, then called the "Licderkranz," and which Stuntz accepted to conduct Now Stunts entered a new phasis for his activity, namely, as a German licdersinger (minstrel, or composer of lays as qunrte-ts, choruses, &c. &c.), and as such he created works which alone secure him the duration of his fame.

Some of the poems of King Louis were among the first ones he was glad to accept, as "Sonnet to my Wife," and the "Bavarian Schutteamarch."

In 1833, when King Louis returned from Greece, Stuntz received him with the "Heldengesang in Waihalla," the real type of the German pithy and energetic strain, since then spread over the world, tad adapted in many languages, with different patriotic words put to it. A sequence of "Gesange" may perhaps be translated by national songs for more than one voice j though " Gesange" are a style of songs peculiar to Germany, as "Deutchcr Grass " (German Greeting); "An meiu Vaterland" (To my Fatherland); "The Banquetlied," composed for the Artists' Festival in 1840; a Chorus for the laying of the foundation stone of the Befreiungshalle in 1842, a chorus which long since outran the frontiers of Bavaria; then the "Landsqucuet-Lieder," and several occasional compositions; further, some smaller quartetts and arrangements of classical composers, &c. &c.

But also on other fields Stuntz never has been inactive. For several of the festivities at the Bavarian Court he composed ; for instance, in 1811, at the birth of the present King, Maximilian IL, a "Lobgesang an did Gottheit ;" in 1823, at the marriage of Princess Elizabeth, present Queen of Prussia, a "Te Deum ;" in 1832, at the marriage of Princess Mathilde, present Grand Duchess of Hesse, a Festspiel "Ahnen and Enkel" (Ancestors and Grandchildren), and so on. Stuntz also presided at the concerts at court, and at the musical academy ; and besides all that he never neglected his compositions for the Roman Church.

In consequence of new regulations in the directoire of the Royal Opera, Stuntz was pensioned from this establishment, and now began his almost exclusive and never-ending productive activity for the Chapelle Royale.

Then the vocal music without orchestra was introduced in the Chapelle Royale, after typo of the Capella Sestina in Rome, and there is it that Stuntz again earned the palm of fame. His compositions for the Roman Church are iu the strictest style. He is quite master of the Cant us firmus. But besides the profoundness and earnestness in these compositions, there is throughout so euphonical and harmonious a strain, which touches and appeases not only tho heart of the connoisseur, but also that of every layman. His church compositions are partly for mixed chorus, partly for men's or women's voices, either with or without accompaniment of the organ. His last Mass is only for women's voices, with accompaniment ot violas and violoncellos; and he indeed crowned himself with his last work produced during his illness, a Requiem for five voices, and which was performed with a most touching awe at the mass for his soul.

Stuntz not only confined his zeal to compositions, but it extended to the historical study of works of the most ancient composers; and when quite familiar with Palestrinn, Leonardo da Leo, Orlando, and others, he, with his clever and finished pen, brought to light the works of a Tosquin da Press, Cypriauo da Rosa, Pierre dc la Rue, and others.

Also in the varied and ornamented music he accomplished a master piece in a Missa solemnis, composed for full orchestra. Besides this, he did not neglect the other musical territories: Canone (Catches);
Madrigals j charming songs for one voice, nnel with accompaniment of the piano; a vocal quartelt, in the style of the old music camera, are speaking proofs of his mult iUter.il operations.

In the year 1846 he composed an opera Maria Rosa, which, as we are sorry to say, wrecked, because of the awkwardly and not wellwritten words, whilst the music is of a high value, though of course lost. A great Symphony of his was performed six years ago, with loud acclamations, in the concerts of the Hofcapclle, and also a Concert Overture in 1857. Stuntz knew how to apply the instruments in his compositions with great effect and elegance, and resembles Aubcr in the technical parts of his Instrumentations.

In consequence of an order of the King, he composed, in 1858, a Bavarian National Hymn (the words by Dr. I* Wohhnuth), for mixed chorus and full orchestra. We, who heard it, say that it is a masterpiece of grandeur and simplcness, but till now it could not be performed for want of a suitable occasion. In 1853 Stuntz composed for the celebration of the King's return from Italy a Cantata, written by the first burgomaster. At the performance in the open air, Stuntz caught a severe cold, which turned in an inflammation on the chest, so that he was confined to a sick room for several months; after his recovery he went to spend a winter in Italy, where he anew was the object of ovations of his many friends there.

Returned from Italy, he again began to suffer from his chest. Repeated travels to the milder climates had perhaps been fit to procure him mitigation, but Stuntz would not hear of it, for nowhere he felt comfortable when far from his habitual sphere of activity; restless, thinking and working was his unremitting striving, and to the last breath his head was full of music

A chronical disease of the heart increased his illness. Nevertheless ho did not intermit his activity; he ordered to be driven in the Chapellc Royalc, where he did his duty for the last time six weeks before his death. On the 18th of June in the early morning, on the 41st anniversary of his wedding-day, he gently slept away, having maintained his amiability and tranquillity of mind, both issuing from the purest of hearts, up to the last moment. Stuntz was a finished man—a good man ; he sided with the liberal party, and indeed carried many a grief iu his heart for the sake of his country ; but he bore it calmly, and bore it as a man firm in his self-consciousness. Stuntz was a genuine, a genial artist; modest, and free of all boasting. After-ages will say of him, that he took up one of the first places among the musical composers ami authorities of his time.

fetters Iff tljc (Ebrtor. —•—

MB. HENRY SMART'S CHORAL BOOK.

Sir,—In one of your papers last year, August 2nd, I see a'long advertisement setting forth the peculiar merits of Mr. Henry Smart's "Choral Book." Without disparaging that gentleman's efforts in what he believes the best mode of advancing Church Psalmody, I would only call his attention to the terms in which ho mentions the Hymnal noted. Doubtless, not having it beforo him, he has greatly altered the advertisement of that publication in his reference to it; the words he quotes should be "the ordinary metrical Versions of the Psalms" (not Metrical Psalmody, as quoted in Mr. Smart's advertisement) "are no longer found, &c. &c." I would also inform Mr. Smart that many persons whose musical taste is by no means at the lowest ebb, do not consider the plain song of the Church cither meaningless or uncouth. Hoping you will insert this as a justification of a publication fully intended by its compilers as an effectivo adjunct to the service of the Church,

I remain, Sir, your obedient servant,

Veritas.

I

THE CHEADLE ASSOCIATION.

Mr. Editor,—Sometime ago the " Cheadle Association for promoling Church Music" offered two prizes of five guineas each, for the best music adapted to the Christmas and Easter Hymns, stating "any violation of the rules of harmony will at once disqualify the tune in which it occurs." After some months of consideration they awarded the prize for the Raster Hymn,T)ut, strange to say, the "Association" overlooked consecutive fifths in this composition. This could not have been a mere oversight of the composer, as it occurs not only in the score, but in the organ part. I send a copy of the tune and the Cheadle prospectus, that

you may judge for yourself. Perhaps the "Association" can enlighten your readers on this subject, which has caused some surprise in musical circles.

Yours very truly,

Oxonian.

The Cheadle Prospectus. "A prize of five guineas will be given to the composer of the best psalm tune to suit the words:—

, * Jesus Christ is risen to day. Hallelujah! Our triumphant holiday. Hallelujah! Who did once upon the cross. Hallelujah I Suffer to redeem our loss. Hallelujah 1'

the ' Hallelujah' to be sung at the end of each line.

"Conditions:—

"The tunes to be strictly original, fall throughout, of a simple, solid, and ecclesiastical character, and within the compass of an ordinary parish choir.

"Many inquiries have been made as to the meaning attached by the committee to the words 'simple, solid, and ecclesiastical.'* The committee beg, therefore, to refer to the tunes numbered 5, 12, 23, 36, 55, in the Cheadle Hand-book of Psalm Tunes, published (price 3d.) by Mr. T. Harrison, 59 Pall Mall, London, as specimens.

"It is intended to publish the successful tunes as substitutes for the Easter and Christmas Hymns now in common use. The copyright will be the property of the association.

"Any violation of the rules of harmony will at once disqualify the tune in which it occurs.

"The tunes must bo distinctly written tit compressed score, on musicpaper of the quarto size, each tune accompanied by separate voice parts, on paper of the same size, with the words written under the notes. Each composition must be distinguished by two mottoes (the name of the composer not to be sent), and forwarded before March 25th to the Rev. George Mather, Huntly Hall, Cheadle, Staffordshire. The postage must be paid or they cannot be received."

[The copy of the "tune" has not reached us.—Ed.]

t

Sir,—When I affirm that the ratio of the basal minor 3rd is 16 to 19, I either state what is true or false. In neither case is it a speculation, as your correspondent A. G. Henderson is pleased to represent it. His very first sentence, in your last number, is therefore disingenuous. Then, as to whether his or my " conclusions arc in opposition to nature," let the examples which terminate this article settle that point. After this Mr. II. very properly observes, "What everybody feels to be true must be true," and so I say; and since everybody feels that the sharp 1st of the key is above the flat 2nd, the sharp 2nd above the flat 3rd, &c, as this is in perfect agreement with my discoveries (not inventions, nor speculations), and confessedly in direct opposition" to the fictions resulting from the fanciful speculations which turn all this topsyturvy, it follows that these facts verify my theory and not the theories to which they stand opposed. Then follows, "and we shall go on our own way," which is very likely to be the case, seeing that longcherished notions are disposed to stick to us, however false they may bej nevertheless, if a tree can bo fairly judged by its fruits, the examples which follow, to which innumerable others may be added, will again lend their aid, and save us much trouble. Mr. A. G. H. goes on to. remark, " This was, in fact, the language used by the Aristoxenians of Ancient Greece towards the mathematicians of the day who would lay down laws for tuning of the lyre. And the Aristoxenians were right, because their antagonists were not in a position to lay down any absolute laws on the subject. They hneio nothing of llic physical condition of sound, nor of the true relation of the intervals, with the exception of the 4th, 5th,and octave." Now this is really splendid; an open confession, for which I feel extremely obliged; for this, in short, is the truth, the whole truth, and nothing but lhe truth. Immediately after this, however, wo have: "The case is different now. Thanks to modern physical experimenters and mathematicians these relations are now in the clear light of day." For this turn in the evidence, I confess, I was not at all prepared, nor can I comprehend it, knowing, as I do, that all the moderns have done, by way of improvement in this matter, is to add the prime 5 to 1, 2, 3, the only primes admitted by the Greeks into the composition of their musical ratios. It follows, however, that consistently with this statement, "the clear light of day" is an influx proceeding entirely from this solitary candle I Moreover, Mr. H. himself objects to 7 and all the higher primes. I am really obliged to Mr. H. for his efforts to enlighten me on the subject of musical ratios, that is the orthodox ratios, but to save him trouble, I beg to inform him that, somehow or other, I scraped acquaintance with them, without the formality
of an introduction, soon after completing my studies respecting the alphabet. Moreover, many years ago, I wrote a small work entitled "An Essay on Acoustics," built entirely npon the orthodox foundation respecting the ratios of the primativc interval*, the truth of which I had not then been led to call in question. But when, some time after, I was induced to experiment upon these matters, instead of deriving pleasure from the so-called perfect ratios, I was disgusted with their effects. Having thus been led to perceive that the assumed orthodox doctrine, in regard to the ratio of intervals is radically false; the arguments by which it is attempted to prop it up, illogical atlrl inconclusive; and its fruits (meaning thereby its real fruits, that is, those which appertain to it, and emanate from it, and not those falsely and cunningly ascribed to it.) most detestable, I set to work with the view to cleanso and purify this Augean stable, and having at length accomplished tho task, I wait the opportunity to present the fruit of my labours to tho public.

As it so happens that what I intended as my concluding article upon this subject i3 placed next to Mr. Henderson's, what is therein observed will render It unnecessary for me to follow Mr. H. in detail through his long " tangled skein." I shall, therefore, merely observe with respect to logarithms, that however useful as artificial numbers they may be in matters relating to artificial sounds or temperaments, they are of no me whatever when perfect ratios are concerned. And, furthermore, that even in respect to fractions, as in my case the denominator is always the unit (to the simplicity of which I beg to call attention), it follows that in tho arithmetical operations relating to my theory, the numerator only is concerned. That on the key-board of tho piano the interval of A major and minor 3rd make a 5th is of course true. It is also truo that } x g = J the ratio of the 5th: but in respect to these matters Mr. H., as well as many others, have to bo informed that no primary ratio and intorval can ever be the product of other primary ratios and intervals, simply because primes are not products. For example, the

ratio of the major 3rd, represented by tho prime 5, x 19 the representative of the minor 3rd =95; but tho prime representing the 5th is 3, the octaves to which are 6, 12, 24, 48, 96, &c As I am not here writing > treatise upon harmony, it is impossible to go into this subject except ia a very cursory manner. I may here inform Mr. H. that the foundation of my theory rests upon the inherent and abstract qualities of numbers, as primes, products, &c, and also upon certain laws relating to order, unity, and position. It is therefore in no otherwise connected with toe generation of acute or gravo harmonics than as it were collaterally; or as effects with effects, but not as cause and effect. Furthermore it is important to observe that in speaking of music as a science, tetnperv ment must bo entirely put aside, and not even thought of. Science, according to my views, is not a "beautiful scheme of the Almighty architect," but truth within but not above the sphcro of nature ; which truths, nevertheless, liko those of a higher degree, eiist by derintion from tho Source of all truth, according to the laws of His own order, but not by arbitrary appointment or preconcerted scheme. Moreover, with respect to Him, simplicity has reference to the unity and subordination of principles, rather than to paucity of materials. It may suit the inventors of artificial systems to rid themselves of all hut i few of the lower primes, but it does not thence follow that the higher primes fulfil no part in the divine economy, or that because no one is gifted with the power to invent, that is to create a real system, we are therefore debarred from searching into the mysteries and wonders appertaining to that which, as proceeding from the Creator, is alone real Being convinced that a quarter of an hour spent in the study of my Ratiomcter will do more to disabuse the mind from the quagmires of false principles, than whole volumes of argumentative writings, and especially where matters relating to the ordinary operations of arithmetic arc not ignorantly scoffed at, because unknown, or confusedly perceived; if Mr. H. is really in search of truth, and should be coming to Loudon, I shall be happy to exhibit it to him.

For the edification of the uninitiated, it may be necessary to remark that, according to my theory, the note 1 f in bar 2 is considerably sharper than the FJ in bar I, yet without producing any change in the basis or unit-sound. In respect to the bases in the lowest pnrt of bar 2, it is to be observed that the basis G is generated by the notes D, 1)5 ; the basis DA by the notes D, FJ ; and the basis B by the notes FJ DJ. In bar 5 the basis C is generated by tho notes G, GJ ; the basis G by the notes G, B; the basis ES by tho notes GJ , B. In bar 6 the basis Eb is generated by the notes Eb, F; tho basis F by the notes F. C; and the basis Ab by the notes C, Eb!

There are, doubtless, some who will call this a strange and curious modo of criticism; and so it is, for being new and unknown, it is therefore not only strange, but somewhat ominous withal : and it is curious from its singular agreement with my theory of musical harmony, and opposition to every other.

1 am, Sir, yours &c, 10 King Street, Holborn,\f.C.., D, C. Hewittt.

2nd August, 1859.

Tub Stage; Female Flatbrs; Akd Tom D'urfet.—From tho first establishment of the stage till after the Restoration the female characters were played by boys; there may, however, have been some exceptions to tho general rule. The Court Beggar was acted at tho cockpit in 1632; in the last act Lady Strangelove says, " If you have a

short speech or two, tho boy's a pretty actor, and his mother can play her part." Women actors now grew in request. Prynne says, 1683, "They have now their female players in Italy and other foreign !«">" and in Michaelmas, 1629, they had French women actors in a pl»f personated at Blaekfriars, to which there was a great resort Pepyi says he saw The Beggar's Bush on the 20th of November, 1660, at which time the play was acted entirely by male performers. He was it the same play again on the 3rd of January, 1661, and then, for the) first time, he saw women come upon the stage. In Davenant's patent there was a clause to this cfTect—" Whereas the women's parts in plays have hitherto been acted by men, in the habits of women, at which some, have taken offence, we do permit nnd give leave for tho time to come that all women's parts shall be acted by women." Tom D'UrfcTwas the delight of the most polito companies from the beginning of Charles II.'s reign till 1710, yet, towards the close of his life, he stood in need of assistance to prevent his passing the remainder of it in a cage, like a singing bird, for, after having written more odea than Horace, and about four times as many comedies as Terence, he found himself reduced to great difficulties by the importunities of a set of men, who, of late years, had furnished him with the accommodations of life, and would not be paid with a song; Addison said this in No 67 of the Guardian, nnd recommends him to the public notice, observing that he remembered King Charles leaning on Tom D'Urfey's shoulder more than once, and humming over a song with him, and that many an honest gentleman had gotten a reputation in the country by pretending to have been in company with Tom D'Urfey.